Compared to the rest of the series, Day of Radiance features very little in the way of electronics. Laraaji uses a variety of acoustic stringed instruments such as a hammered dulcimer and 36-stringed open-tuned zither.

The first three tracks are variations on a theme named "The Dance", and are delivered in a fast, hypnotic, Gamelan-like, rhythmic pace on a hammered dulcimer. Eno's input is not only in the role of producer; he also adds many creative touches to the natural instrument-sounds. In particular, he "layers" the tracks, after which he applies various effects to the point at which the dulcimer almost sounds like other instruments.

These processes are particularly noticeable on the last of the "Dance" pieces. The simple practice of slowing the tape down creates resonances that are deep, and distorted in places.

The final two tracks ("Meditation 1 & 2") are different; more in keeping with the "ambient" style featured on the rest of the series. These are slow, meandering beatless compositions performed on the zither, with the dulcimer adding the odd highlight. Eno's tactic in these two pieces is mainly to electronically highlight the zither's naturally long decay-rate, creating a highly ethereal sound.

1.
Album
–
Album, is a collection of audio recordings issued as a single item on CD, record, audio tape, or another medium. Albums of recorded music were developed in the early 20th century, first as books of individual 78rpm records, vinyl LPs are still issued, though in the 21st century album sales have mostly focused on compact disc and MP3 formats. The audio cassette was a format used from the late 1970s through to the 1990s alongside vinyl, an album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places. Recording may take a few hours to years to complete, usually in several takes with different parts recorded separately. Recordings that are done in one take without overdubbing are termed live, the majority of studio recordings contain an abundance of editing, sound effects, voice adjustments, etc. With modern recording technology, musicians can be recorded in separate rooms or at times while listening to the other parts using headphones. Album covers and liner notes are used, and sometimes additional information is provided, such as analysis of the recording, historically, the term album was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of pieces of printed music from the early nineteenth century. Later, collections of related 78rpm records were bundled in book-like albums, the LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. It was adopted by the industry as a standard format for the album. Apart from relatively minor refinements and the important later addition of stereophonic sound capability, the term album had been carried forward from the early nineteenth century when it had been used for collections of short pieces of music. Later, collections of related 78rpm records were bundled in book-like albums, as part of a trend of shifting sales in the music industry, some commenters have declared that the early 21st century experienced the death of the album. Sometimes shorter albums are referred to as mini-albums or EPs, Albums such as Tubular Bells, Amarok, Hergest Ridge by Mike Oldfield, and Yess Close to the Edge, include fewer than four tracks. There are no rules against artists such as Pinhead Gunpowder referring to their own releases under thirty minutes as albums. These are known as box sets, material is stored on an album in sections termed tracks, normally 11 or 12 tracks. A music track is a song or instrumental recording. The term is associated with popular music where separate tracks are known as album tracks. When vinyl records were the medium for audio recordings a track could be identified visually from the grooves

2.
World music
–
The term was popularized in the 1980s as a marketing category for non-Western traditional music. Globalization has facilitated the expansion of world musics audiences and scope and it has grown to include hybrid subgenres such as world fusion, global fusion, ethnic fusion, and worldbeat. To enhance the process of learning, he invited more than a dozen visiting performers from Africa and Asia, the term became current in the 1980s as a marketing/classificatory device in the media and the music industry. There are several conflicting definitions for world music, one is that it consists of all the music in the world, though such a broad definition renders the term virtually meaningless. The term also is taken as a classification of music that combines Western popular music styles with one of many genres of music that are also described as folk music or ethnic music. However, world music is not exclusively traditional folk music and it may include cutting edge pop music styles as well. Succinctly, it can be described as music from out there. It is a nebulous term with an increasing number of genres that fall under the umbrella of world music to capture musical trends of combined ethnic style and texture. As a result, definitions of the genre have become particularly varied, similar terminology between distinctly different sub-categories under primary music genres, such as world, rock and pop can be as ambiguous and confusing to industry moguls as it is to consumers. In a report on the 2014 globalFEST National Public Radios Anastasia Tsioulcas said Even within the music community. Whats more, I believe that in peoples imaginations, world music means a kind of fairly awful, gloppy, hippy-ish. Its a problematic, horrible term that satisfies absolutely no one, the Breton musician Alan Stivell pioneered the connection between traditional folk music, modern rock music and world music with his 1972 album Renaissance of the Celtic Harp. At this time, Stivells contemporary, Welsh singer-songwriter Meic Stevens popularised Welsh folk music, more recently, other Welsh-language bands such as Calan and 9 Bach have achieved international acclaim. The broad category of music includes isolated forms of ethnic music from diverse geographical regions. These dissimilar strains of music are commonly categorized together by virtue of their indigenous roots. World fusion / Worldbeat / Ethnic fusion / Global fusion can also blend specific indigenous sounds with more blatant elements of Western pop. Depending on style and context, world music can sometimes share the music genre. Good examples are Tibetan bowls, Tuvan throat singing, Gregorian chant or Native American flute music, World music blended with new-age music is a sound, loosely classified as the hybrid genre, ethnic fusion

3.
New Age music
–
New Age music is a genre of music intended to create artistic inspiration, relaxation, and optimism. There is no definition of New Age music. An article in Billboard magazine in 1987 commented that New Age music may be the most startling successful non-defined music ever to hit the public consciousness. Many consider it to be a term for marketing rather than a musical category. New Age music was influenced by a range of artists from a variety of genres. Tony Scotts Music for Zen Meditation is considered to be the first New Age recording, paul Horn was one of the important pioneers. Irv Teibels Environments series featured natural soundscapes, tintinnabulation, and Om chants and were some of the first publicly available psychoacoustic recordings, Steven Halperns 1975 Spectrum Suite was a key work that began the New Age music movement. New Age music is defined more by the use and effect or feeling it produces rather than the instruments and genre used in its creation, it may be acoustic, electronic, or a mixture of both. There is also a significant overlap of sectors of New Age music with ambient music, classical music, jazz, electronica, world music, chillout, space music, pop music, the proponents of this definition are almost always musicians who create their music expressly for these purposes. To be useful for meditation music needs to have repetitive dynamic and texture, without sudden loud chords and it is minimalist in conception, and thus are mostly instrumentalist rather than vocalist musicians. Subliminal messages are used in New Age music, and the use of music instruments along the natural sounds of the animals. Music which is found in the New Age sections of record stores, stephen Hill, founder of the Hearts of Space in 1973, considers that many of the artists are very sincerely and fully committed to New Age ideas and ways of life. Some composers like Kitarō consider their music to be part of their growth, as well expressing values. However, it is noted that New Age music is a mere popular designation which successfully sells records. J. Gordon Melton argued it does not refer to a genre of music. Kay Gardner considered that the label New Age is considered an inauthentic commercial intention of the so-called New Age music. She commented that a lot of New Age music is schlock and how due to records sales everyone with a home studio put in some sounds of crickets, oceans, or rivers, as a guarantee of sales. Thus under the term, some consider that the Mike Oldfields progressive rock album Tubular Bells became one of the first albums to be referred to under the genre description of New Age

4.
Record producer
–
A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu

5.
Brian Eno
–
Brian Peter George St John le Baptiste de la Salle Eno, RDI is an English musician, composer, record producer, singer, writer, and visual artist. He is best known for his work in rock, ambient, pop. He has been described as one of musics most influential. Born in Suffolk, Eno studied painting and experimental music at art school in the late 1960s before joining glam rock group Roxy Music as synthesizer player in 1971. He took part in frequent collaborations with such as Robert Fripp, Cluster, David Bowie on his Berlin Trilogy. In subsequent decades, Eno continued to record albums, collaborate, and produce for other artists, including U2, Coldplay, Laurie Anderson, James, Grace Jones. He continues to release music, produce, and write, the unusual surname Eno, long established in Suffolk, derives from the French Huguenot surname Hennot. Maria had already had a daughter, and together William and Maria would have two children, Roger and Arlette. In school, Eno used a tape recorder as an instrument and experimented with his first, sometimes improvisational. From that collaboration, he involved in Cornelius Cardews Scratch Orchestra. The first released recording in which Eno played is the Deutsche Grammophon edition of Cardews The Great Learning, Another early recording was the Berlin Horse soundtrack, by Malcom Le Grice, a nine-minute,2 ×16 mm-double-projection, released in 1970 and presented in 1971. He then progressed to appearing on stage as a member of the group. He quit the band on completing the tour for the bands second album, For Your Pleasure, because of disagreements with lead singer Bryan Ferry. If Id walked ten yards further on the platform, or missed that train, or been in the next carriage, during his period with Roxy Music, and for his first three solo albums, he was credited on records only as Eno. Eno embarked on a career almost immediately. Between 1973 and 1977 he created four albums of electronically inflected art pop, Here Come the Warm Jets, Taking Tiger Mountain, Another Green World, and Before and After Science. Tiger Mountain contains the galloping Third Uncle, one of Enos best-known songs and these four albums were remastered and reissued in 2004 by Virgins Astralwerks label. Due to Enos decision not to add any extra tracks of the original material, in 1972, Eno and Robert Fripp developed the Frippertronics tape delay system, a year later, the pair released the proto-ambient album

6.
Ambient 2: The Plateaux of Mirror
–
Ambient 2, The Plateaux of Mirror is a 1980 album by Harold Budd and Brian Eno. This is the installment of Enos Ambient series which began in 1978 with Ambient 1, Music for Airports. Eno produced Budds 1978 album The Pavilion of Dreams after British composer Gavin Bryars introduced the pair, Eno said of Budd that he indulged in live improvisation on The Plateaux of Mirror. I would set up a sound, he would improvise to it, and occasionally I would add something, speaking about how Budd discovered new ways of playing on the album simply by bouncing ideas off each other, Eno has also commented. With him I used to set up quite complicated treatments and then he would go out, and you would hear him discovering, as he played, how to manipulate this treatment. How to make it ring and resonate, which notes work particularly well on it. What speed to play at, of course, because some treatments just cloud out if they have too much information in them, the bulk of the instrumentation is Budd on acoustic piano with treatments by Eno. The Plateaux of Mirror and Wind in Lonely Fences are performed on electric piano, Budd composed Not Yet Remembered in California, with a melodic line intended for vocals, and mailed the composition to Eno in New York City. Eno then reversed the phrase, recorded it and played it to Budd for the first time over the telephone. The basic theme of The Chill Air was repeated on Their Memories, while the theme is recognisable by its melody line, the treatments are more pronounced. Tracks 3 and 9 feature syncopation, mostly in the form of light chimes, track 5s piano is backed with some warm synthesizers, the most uptempo composition on the album. Because the album was recorded on equipment, the listener can hear the hiss of the tapes Eno used for his treated sounds in several of the tracks. In its retrospective review, AllMusic described it as a lovely, pitchfork wrote The Plateaux matches Enos other ambient albums in its moments of deep beauty, though it does little to mute the human presence. One gets the feeling that Harold Budd was after something slightly different from Eno, still, left on in the background, Plateaux is a light-filled album that accomplishes the goal of transforming its environment. All tracks by Brian Eno and Harold Budd, except as indicated

7.
Fourth World, Vol. 1: Possible Musics
–
Fourth World, Vol.1, Possible Musics is an album by Jon Hassell and Brian Eno. It was recorded at Celestial Sounds in New York City and released in 1980 by Editions EG, Fourth world music is a synonym for world music. The album features Hassells electronically processed trumpet backed by Enos percussion-oriented arrangements, Hassells trumpet is the dominant instrument on the whole album, yet, it almost never sounds like one. In Chemistry it possesses the quality of a flute, very soft, at the same time it has an electronic, treated edge and warbles on the higher notes. A simple, slide bass motif backed by low congas forms the background, delta Rain Dream is similar, minus the bass, and the congas have a more Burundi feel to them, albeit slow and dreamy. Handclaps are used as percussion in Griot, which was recorded live at the Art Gallery of Ontario, the trumpet sounds like a broken recording of a wounded animal and also plays a light, high drone in the background, providing a sense of literal ambience. The same trumpet-sound dominates Ba-Benzélé, which features the return of the congas, Rising Thermal repeats a 4-note, tape-looped trumpet with a heavily treated trumpet over the top that sounds like an eerie human voice. Charm, which took up the second side of the original LP release, is based on some of the longer pieces of Hassells 1977 album Vernal Equinox. The voice, this time, sounds like an animal, backed by congas and ghatan and light synths in a drone, the trumpets feature a reverse echo. The albums cover photo is a Landsat photo of the south of Khartoum in Sudan. The map coordinates in Rising Thermal translate to the shown in the photo. The river is the White Nile, which is also the name of a Sudanese state, Eno took what he learned from making this album and put it to use in his collaboration with David Byrne, My Life in the Bush of Ghosts. Hassell apparently considered that album too commercial, and castigated Eno in Andy Warhols Interview magazine for his methods and lack of musical pedigree. At the end of 1980, Fourth World, Vol.1 was named one of the ten best albums by many critics. Village Voice critic Robert Christgau ranked it sixth on his year-end list for the Pazz & Jop poll, in a retrospective review, he deemed the record ambient esoteric kitsch that was the most seductive thing Enos put his name on since Another Green World. According to the Spin Alternative Record Guide, Fourth World, Vol.1 pioneered the approach to world music with which so many artists experimented during the 80s. 2, Dream Theory in Malaya Eno, Sound On Sound, Vol 4 Issue 4, Feb 1989 Hassell, Sound On Sound,1991 Hassell, Perfect Sound Forever,1997 Fourth World, Vol.1, Possible Musics at Discogs

8.
AllMusic
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AllMusic is an online music guide service website. It was launched in 1991 by All Media Guide which later became All Media Network, AllMusic was launched in 1991 by Michael Erlewine of All Media Guide. The aim was to discographic information on every artist whos made a record since Enrico Caruso gave the industry its first big boost and its first reference book was published the following year. When first released onto the Internet, AMG predated the World Wide Web and was first available as a Gopher site, the AMG consumer web properties AllMusic. com, AllMovie. com and AllGame. com were sold by Rovi in July 2013 to All Media Network, LLC. All Media Network, LLC. was formed by the founders of SideReel. com. The following are contributors to AllMusic, as of this date, All Media Network also produced the AllMusic guide series that includes the AllMusic Guide to Rock, the All Music Guide to Jazz and the All Music Guide to the Blues. Vladimir Bogdanov is the president of the series, in August 2007, PC Magazine included AllMusic in its Top 100 Classic Websites list. All Media Network AllGame AllMovie SideReel All Music Guide to the Blues All Music Guide to Jazz Stephen Thomas Erlewine Official website

9.
United States
–
Forty-eight of the fifty states and the federal district are contiguous and located in North America between Canada and Mexico. The state of Alaska is in the northwest corner of North America, bordered by Canada to the east, the state of Hawaii is an archipelago in the mid-Pacific Ocean. The U. S. territories are scattered about the Pacific Ocean, the geography, climate and wildlife of the country are extremely diverse. At 3.8 million square miles and with over 324 million people, the United States is the worlds third- or fourth-largest country by area, third-largest by land area. It is one of the worlds most ethnically diverse and multicultural nations, paleo-Indians migrated from Asia to the North American mainland at least 15,000 years ago. European colonization began in the 16th century, the United States emerged from 13 British colonies along the East Coast. Numerous disputes between Great Britain and the following the Seven Years War led to the American Revolution. On July 4,1776, during the course of the American Revolutionary War, the war ended in 1783 with recognition of the independence of the United States by Great Britain, representing the first successful war of independence against a European power. The current constitution was adopted in 1788, after the Articles of Confederation, the first ten amendments, collectively named the Bill of Rights, were ratified in 1791 and designed to guarantee many fundamental civil liberties. During the second half of the 19th century, the American Civil War led to the end of slavery in the country. By the end of century, the United States extended into the Pacific Ocean. The Spanish–American War and World War I confirmed the status as a global military power. The end of the Cold War and the dissolution of the Soviet Union in 1991 left the United States as the sole superpower. The U. S. is a member of the United Nations, World Bank, International Monetary Fund, Organization of American States. The United States is a developed country, with the worlds largest economy by nominal GDP. It ranks highly in several measures of performance, including average wage, human development, per capita GDP. While the U. S. economy is considered post-industrial, characterized by the dominance of services and knowledge economy, the United States is a prominent political and cultural force internationally, and a leader in scientific research and technological innovations. In 1507, the German cartographer Martin Waldseemüller produced a map on which he named the lands of the Western Hemisphere America after the Italian explorer and cartographer Amerigo Vespucci

10.
Music for Airports
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Ambient 1, Music for Airports is the sixth studio album by Brian Eno, released by Polydor Records in 1978. Though it is not the earliest entry in the genre, it was the first album ever to be created under the label ambient music. Eno conceived of the idea for Ambient 1 while spending several hours waiting at Cologne Bonn Airport in Germany in the mid-1970s and being annoyed by the uninspired sound atmosphere. To achieve this, Eno sought to create music that would accommodate many levels of listening attention without enforcing one in particular, it must be as ignorable as it is interesting. Rather than brightening and regularizing the atmosphere of an environment as typical background music does, Music for Airports is intended to induce calm and a space to think. All tracks were composed by Eno except 1/1, which was co-composed by Eno with former Soft Machine drummer and vocalist Robert Wyatt, Music for Airports employs the phasing of tape loops of different lengths. Talking about the first piece, Eno has said, 2/1 and 1/2 each contain four tracks of wordless vocals which loop back on themselves, subtle changes in timing occur, adding to the timbre of the pieces. Eno explains of the piece, 2/2 was performed with an ARP2600 synthesizer. In a 1979 review for Rolling Stone, Michael Bloom found Ambient 1 self-indulgent, theres a good deal of high craftsmanship here, Bloom said. But to find it, youve got to thwart the musics intent by concentrating, then you are likely struck by how the music allows your mind the space to breathe, Davidson wrote, and in doing so, adapts itself to your mood. Slant Magazine described the effect of the compositions as sheer weightlessness, Q described it as soothing and sublime, a useful album when youre feeling particulary delicate. Ambient 1 was included in the book 1001 Albums You Must Hear Before You Die, the album was installed at the Marine Air Terminal of New Yorks LaGuardia Airport for a brief period during the 1980s. The track labelling references the albums first release as an LP, and so the first track means first track, first side, the CD pressing adds 30 seconds of silence after every song, including 2/2. The albums back cover features four abstract graphic notation images, one for each track and this title was later included with his Thursday Afternoon video on the Rykodisc DVD compilation 14 Video Paintings. Eno is the sole credit, and he also wrote original music for the documentary. 1/1 is frequently used as music on the US public radio program This American Life. 1/1 is used as music in the 1986 film 9½ Weeks. 1/1 features prominently in the scene of the 2009 motion picture The Lovely Bones

11.
Ambient 4: On Land
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Ambient 4, On Land is the eighth solo studio album by British ambient musician Brian Eno. It was the edition in Enos ambient series, which began in 1978 with Music for Airports. The making of such as On Land involved feeding unheard tape into the mix. I included not only recordings of rooks, frogs and insects, despite the musics dark leanings, it is in a sense still highly ambient in that the tracks tend to blend into each other and thus fulfill all of Enos original expectations of what the term means. Nevertheless, there is room for the occasional surprise, such as Jon Hassells recognisable effect-laden trumpet in Shadow. Eno also had something to say about how music—this album in particular—should be listened to, in the liner notes, he suggested a three-way speaker system that is both simple to install and inexpensive, and which seems to work very well on any music with a broad stereo image. The album makes reference to definite geographical places, such as Lizard Point, named after the exposed, southernmost tip of mainland Britain, tal Coat refers to Pierre Louis Jacob, aka Pierre Tal-Coat, a proponent of the French form of abstract expressionism, Tachisme. This interest in painting is reflected in his statement that the album was, an attempt to transpose into music something that you can do in painting, creating a figurative environment. He remarks, My experience of it not from having visited it but from having subsequently seen it on a map and imagining where. Leeks Hills, Eno explains, is a wood which stands between Woodbridge and Melton. There isnt a lot left of it now, but it used to be quite extensive. To find it you travel down the road connecting Woodbridge. Dunwich Beach, Autumn,1960 is named after the once prosperous seaport of Dunwich, England, all songs written by Brian Eno unless otherwise noted. Two time-lapse animated GIFS from the production – and this title was later repackaged with his Thursday Afternoon video as 14 Video Paintings, RykoDisc,9,10. The Khumba Mela, A1982 90-minute video filmed in the waterways of Kashmir in India about a Saddhus pilgrimage by Albert Falzon, mythological Lands – Symbols from the Magic Drum, by David Bickley, a film about Lapland features music from the album 15,16,17. Ocean of Sound, a book by David Toop, has been accompanied by a 2-CD compilation including Lizard Point 18,19,20, OHM, The Early Gurus of Electronic Music 1948–80 features the track Unfamiliar Wind 21

12.
Hammered dulcimer
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The hammered dulcimer is a percussion instrument and stringed instrument with the strings typically stretched over a trapezoidal sounding board. The hammered dulcimer is set before the musician, who may sit cross legged on the floor or on a stool at a stand on legs. The player holds a small spoon shaped mallet hammer in hand to strike the strings. The Graeco-Roman dulcimer derives from the Latin dulcis and the Greek melos, the dulcimer, in which the strings are beaten with small hammers, originated from the psaltery, in which the strings are plucked. Various types of hammered dulcimers are traditionally played in Iraq, India, Iran, Southwest Asia, China, and parts of Southeast Asia, Central Europe, the Balkans, Eastern Europe and Scandinavia. The instrument is played in the United Kingdom and the U. S. where its traditional use in folk music saw a notable revival in the late 20th century. A dulcimer usually has two bridges, a bridge near the right and a treble bridge on the left side. The bass bridge holds up bass strings, which are played to the left of the bridge, the treble strings can be played on either side of the treble bridge. In the usual construction, playing them on the side gives a note a fifth higher than playing them on the right of the bridge. The dulcimer comes in sizes, identified by the number of strings that cross each of the bridges. A 15/14, for example, has 15 strings crossing the bridge and 14 crossing the bass bridge. The strings of a hammered dulcimer are usually found in pairs, each set of strings is tuned in unison and is called a course. A hammered dulcimer, like an autoharp, harp, or piano, requires a tuning wrench for tuning, the strings of the hammered dulcimer are often tuned according to a circle of fifths pattern. Typically, the lowest note is struck at the lower right-hand of the instrument, as a player strikes the courses above in sequence, they ascend following a repeating sequence of two whole steps and a half step. With this tuning, a scale is broken into two tetrachords, or groups of four notes. For example, on an instrument with D as the lowest note and this is the lower tetrachord of the D major scale. At this point the player returns to the bottom of the instrument and shifts to the strings to the right of the treble bridge to play the higher tetrachord. See the drawing on the left above, in which DO would correspond to D, the shift from the bass bridge to the treble bridge is required because the bass bridges fourth string G is the start of the lower tetrachord of the G scale

13.
Zither
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Zither is a class of stringed instruments. The word zither is a German rendering of the Latin word cithara, historically, it has been applied to any instrument of the cittern family, or an instrument consisting of many strings stretched across a thin, flat body – similar to a psaltery. This article describes the second variety, like a guitar or lute, a zithers body serves as a resonating chamber, but, unlike guitars and lutes, a zither lacks a distinctly separate neck assembly. The number of strings varies, from one to more than fifty, in modern common usage the term zither refers to three specific instruments, the concert zither, its variant the Alpine zither, and the chord zither. Concert and Alpine zithers are found in Slovenia, Austria, Hungary, France, north-western Croatia. Emigration from these areas during the 19th century introduced the concert, chord zithers similar to the instrument in the photograph also became popular in North America during the late 19th and early 20th century. These variants all use metal strings, similar to the cittern and it is not fully understood how zitter or zither came to be applied to the instruments in this article as well as German varieties of the cittern. The Hornbostel-Sachs system, an academic instrument classification method, also uses the term zither, pedal steel guitars, lap guitars, and keyboard instruments like the clavichord, harpsichord and piano also fall within this broad categorical use. The word has also used in conjunction with brand varieties of other string instruments. The earliest known surviving instrument of the family is a Chinese guqin. Increasing interest in music has brought wider recognition to these other zither family members. Many of these instruments have been sampled electronically, and are available in instrument banks for music synthesizers, some of these employed movable bridges similar to the Japanese koto, used for retuning the drone strings. The Alpine Scheitholt furnishes an example of this type of European zither. By the late 18th century, two varieties of European concert zither had developed, known as the Salzburg zither. Both styles are found in concert zithers today, although the Salzburg style has become by far the most common. The zither became a folk music instrument in Bavaria and Austria and. Viennese zitherist Johann Petzmayer became one of the outstanding virtuosi on these early instruments and his ideas were not, however, widely accepted until 1862, when luthier Max Amberger of Munich fabricated a new zither based on Weigels design. At this point the zither had reached something very close to its modern concert form, within a relatively short time the new design had largely replaced the old Volkszither throughout central Europe, particularly in the Alpine countries

14.
Gamelan
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Gamelan is the traditional ensemble music of Java and Bali in Indonesia, made up predominantly of percussive instruments. The most common instruments used are metallophones played by mallets and a set of hand-played drums called kendhang which register the beat, other instruments include xylophones, bamboo flutes, a bowed instrument called a rebab, and even vocalists called sindhen. Although the popularity of gamelan has declined since the introduction of pop music, gamelan is still played on formal occasions. For most Indonesians, gamelan is an part of Indonesian culture. The word gamelan comes from the low Javanese word gamel, which may refer to a type of mallet used to strike instruments or the act of striking with a mallet. The term karawitan refers to classical music and performance practice. The word derives from the Javanese word of Sanskrit origin, rawit, another word from this root, pangrawit, means a person with such sense, and is used as an honorific when discussing esteemed gamelan musicians. The gamelan predates the Hindu-Buddhist culture that dominated Indonesia in its earliest records, the instruments developed into their current form during the Majapahit Empire. In contrast to the heavy Indian influence in art forms, the only obvious Indian influence in gamelan music is in the Javanese style of singing. In Javanese mythology, the gamelan was created by Sang Hyang Guru in Saka era 167 and he needed a signal to summon the gods and thus invented the gong. For more complex messages, he invented two other gongs, thus forming the original gamelan set, the earliest image of a musical ensemble is found on the 8th century Borobudur temple, Central Java. Musical instruments such as the flute, bells, drums in various sizes, lute. However it lacks metallophones and xylophones, nevertheless, the image of this musical ensemble is suggested to be the ancient form of the gamelan. In the palaces of Java the oldest known ensembles, Gamelan Munggang and these formed the basis of a loud style of music. In the 17th century, these loud and soft styles mixed, and to an extent the variety of modern gamelan styles of Bali, Java. Thus, despite the diversity of styles, many of the same theoretical concepts, instruments. A gamelan is an ensemble consisting of metallophones, xylophones, flutes, gongs, voices. The hand-played drum called kendhang controls the tempo and rhythm of pieces as well as transitions from one section to another, while one instrument gives melodic cues to indicate treatment or sections of a piece

15.
Here Come the Warm Jets
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Here Come the Warm Jets is the debut solo album by Brian Eno, credited only as Eno. Produced by him, it was released on Island Records in January 1974, the musical style of Here Come the Warm Jets is a hybrid of glam rock and art rock, similar to Enos previous album work with Roxy Music, although in a stronger experimental fashion. Here Come the Warm Jets peaked at number 26 on the United Kingdom album charts and number 151 on the US Billboard charts and it was re-issued on compact disc in 1990 on Island Records and in 2004 on Virgin Records, and continued to elicit praise. Critic Steve Huey of AllMusic stated that the album still sounds exciting, forward-looking, Here Come the Warm Jets was recorded in twelve days at Majestic Studios in London during September 1973 by recording engineer Derek Chandler. It was mixed at Air and Olympic Studios by Eno and audio engineer Chris Thomas, the albums title was believed to be a slang term for urination. However, in an interview with Mojo magazine in 1996, Eno explained that it came from a description he wrote for the guitar on the title track. Because the guitar sounded like a tuned jet, Eno selected them on the basis that he thought they were incompatible with each other musically. He stated that he got them together merely because I wanted to see what happens when you combine different identities like that, is organized with the knowledge that there might be accidents, accidents which will be more interesting than what I had intended. Eno directed the musicians by using language and dancing, as well as through verbal suggestion, to influence their playing. He felt at the time that this was a way to communicate with musicians. The album credits Eno with instruments such as guitar, simplistic piano. These terms were used to describe the character or the means of production used to treat the instruments. Enos girlfriend at the time, potter Carol McNicoll, supervised the design of the cover for the album, the songs on Here Come the Warm Jets reference various musical styles from the past and present. The overall style of the album has been described as glammed-up art-pop, showcasing glam rocks simple yet theatrical crunchy guitar rock and art pops sonic texture, in some tracks, Enos vocals emulate the manner of the lead singer of his former band Roxy Music, Bryan Ferry. On other songs such as Babys on Fire, they were described as more nasal, to create the lyrics, Eno would later play these backing tracks singing nonsense syllables to himself, then take them and form them into actual words, phrases and meaning. This lyric-writing method was used for all his more vocal-based recordings of the 1970s, the lyrics on Here Come the Warm Jets are macabre with an underlying sense of humour. They are mostly free-associative and have no particular meaning, exceptions include The Paw Paw Negro Blowtorch, about the historical A. W. Underwood of Paw Paw, Michigan with the ability to set items ablaze with his breath, according to Eno

16.
Taking Tiger Mountain (By Strategy)
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Taking Tiger Mountain is the second solo album by English musician Brian Eno. Produced by Eno, it was released by Island Records in November 1974. Unlike his previous album Here Come the Warm Jets, Eno used a band of five instrumentalists. Also participating was guitarist and co-writer Phil Manzanera, who had played with Eno in Roxy Music, to help guide production of the album, Eno and Peter Schmidt developed instruction cards called Oblique Strategies to use through the creative process of the album. Taking Tiger Mountain is a concept album with topics ranging from espionage to the Chinese Communist revolution. The albums music has an upbeat and bouncy sound but with dark lyrical themes, the album did not chart in the United Kingdom or United States, but received greater attention from the rock press. It was re-issued in a version in 2004 by Virgin Records. The album has received attention, with varying opinions on its style. Like on his previous album, and following album Another Green World, Brian Eno names himself only as Eno on the sleeve, the album was inspired by a series of postcards of a Chinese revolutionary opera, titled Taking Tiger Mountain by Strategy. Eno described his understanding of the title as referring to the dichotomy between the archaic and the progressive, half Taking Tiger Mountain – that Middle Ages physical feel of storming a military position – and half – that very, very 20th-century mental concept of a tactical interaction of systems. To further explore the possibilities of the setting, Eno and his friend Peter Schmidt developed instruction cards. During recording of the album, he would allow the cards to dictate the next unconsidered action in the recording process, Phil Manzanera, Enos former bandmate in Roxy Music, spoke positively about the recording experience. Manzanera described the recording of the album as. just doing anything we felt like doing at the time, the engineer we used, Rhett Davies, also did Diamond Head and 801 Live and Quiet Sun, so it was like family. Unlike his previous album Here Come the Warm Jets, Eno worked with a group of musicians on Taking Tiger Mountain. The group consisted of Manzanera of Roxy Music, Brian Turrington and Freddie Smith of The Winkies, during the same period, Eno was producing Robert Calverts album Lucky Leif and the Longships, and the majority of the players on Taking Tiger Mountain were also involved in that project. Several guest musicians played on select songs on the album, including Andy Mackay of Roxy Music and the Portsmouth Sinfonia. The orchestras philosophy allowed anybody to join as long as that person had no experience with the instrument to be played in the orchestra, for guest drummer Phil Collins, Eno called in a favour from Collins group Genesis. After Eno had helped with the production of Genesis album The Lamb Lies Down on Broadway, Eno looked at Collins, stating that he needed a drummer, and Collins played drums on Mother Whale Eyeless

17.
Another Green World
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Another Green World is the third studio album by English musician Brian Eno, released by Island Records in September 1975. Produced by Eno and Rhett Davies, it featured contributions from several guest musicians including Robert Fripp, Phil Collins, the album marked a transition from the rock-based music of Enos previous releases toward the minimalist sensibility of his late 70s ambient work. Though the album failed to chart in the United States or the United Kingdom, contemporary reception of Another Green World has been very positive, several critics and publications have placed the album on lists of the top albums of all time. Another Green World was recorded at Island Studios in London during the months of July, Brian Eno originally viewed his new album as an experiment and entered the recording studio with nothing written or prepared beforehand. For the first four days in the studio, Eno failed to be productive, to look for new ideas, Eno turned to his instructional cards, the Oblique Strategies, and began coming up with new ideas as he did with his previous album Taking Tiger Mountain. Some of the credits for the instruments have fanciful names that describe the sound they make. The Castanet Guitars are electric guitars played with mallets and are treated to sound something like castanets. The Leslie piano is an acoustic piano miked and fed through a Leslie speaker with a built-in revolving horn speaker. Eno described the guitar and digital guitar by stating the kind of lines I was playing reminded me of the way a snake moves through the brush. Digital guitar is a guitar threaded through a delay but fed back on itself a lot so it makes this cardboard tube type of sound. Like his previous two efforts, Eno had several guest musicians contributing to Another Green World. Unlike his previous albums, Eno worked on solo material. Seven songs on the album have Eno playing all the instruments himself, including electronic and nonelectronic keyboards, guitars, and percussion. Among the guest musicians was Phil Collins, who played drums on Tiger Mountain and got along with Eno, on recording the album, Collins recalled, gave us all a bit of paper, and we made lists from one to 15. 2, we all play a G, No.7 we all play a C sharp, so it was like painting by numbers. Used to love me and Percy, wed go in and run through our dictionary licks and hed record them, Robert Fripp, who worked with Eno on and Here Come the Warm Jets, performed the solo on St. Elmos Fire. Eno asked Fripp to improvise a lightning-fast guitar solo that would imitate an electrical charge between two poles on a Wimshurst high voltage generator and this was the basis for Eno crediting Fripps solo on this track as Wimshurst Guitar. Another Green World represents a point in Enos musical career

18.
Discreet Music
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Discreet Music is the fourth studio album by the British musician Brian Eno. It is also Enos first album to be released under his full name Brian Eno as opposed to his previous albums released simply under the name Eno. Brian Enos concept of ambient music builds upon a concept composer Erik Satie called furniture music and this means music that is intended to blend into the ambient atmosphere of the room rather than be directly focused upon. The inspiration for this began when Eno was left bed-ridden in a hospital by an automobile accident and was given an album of eighteenth-century harp music. After struggling to put the record on the turntable and returning to bed, he realised that the volume was turned down but he lacked the strength to get up from the bed again and this album is also an experiment in algorithmic, generative composition. His intention was to explore ways to create music with limited planning or intervention. Nicole V. Gagné described the album as a minimalist work using tape-delay, the A-side of the album is a thirty-minute piece titled Discreet Music. It was originally intended as a background for Robert Fripp to play against in a series of concerts, the liner notes contain a diagram of how this piece was created. It begins with two phrases of different lengths played back from a synthesizers digital recall system. This signal is then run through a graphic equaliser to occasionally change its timbre and it is then run through an echo unit before being recorded onto a tape machine. The tape runs to the reel of a second machine. The output of that machine is fed back into the first tape machine which records the overlapped signals and this tape loop arrangement was earlier utilized by Fripp & Eno in their release and soon became known as Frippertronics. The second half of the album is three pieces collectively titled Three Variations on the Canon in D Major by Johann Pachelbel and these pieces were performed by the Cockpit Ensemble, conducted and co-arranged by Gavin Bryars. The titles of these pieces were derived from inaccurate French-to-English translations of the notes of a version of Pachelbels Canon performed by the orchestra of Jean-Francois Paillard. Discreet Music was the third simultaneous releases on Enos new Obscure Records label and this album was re-released on the Virgin label. On CD reissues, a minute of silence separates Discreet Musics title track from the Pachelbel piece. Trouser Press described the album as striking and haunting, filled with beauty and apprehension, paralleling the minimalist music being made by Steve Reich and this album was a favorite of David Bowies, and led to his collaboration with Eno on Bowies late 70s Berlin Trilogy. For the 40th anniversary of the release of the album, the Canadian music ensemble Contact recorded all of the songs with classical instruments

19.
Before and After Science
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Before and After Science is the fifth studio album by British musician Brian Eno. Produced by Eno and Rhett Davies, it was released by Polydor Records in December 1977. Guest musicians from the United Kingdom and Germany helped with the album, including members of Roxy Music, Free, Fairport Convention, Can, over one hundred tracks were written with only ten making the albums final cut. The musical styles of the range from energetic and jagged to more languid. The album was Enos second to chart in the United States, the song Kings Lead Hat, the title of which is an anagram for Talking Heads, was remixed and released as a single, although it didnt chart in the United Kingdom. Critical response to the album has remained positive, with critics calling it one of Enos best works. Unlike Enos previous albums, which were recorded in a short time, Before. During this two-year period, Eno was busy working on his ambient music albums Music for Films. As on previous rock-based recordings, for Before and After Science Eno worked with a plethora of guest musicians, several artists from German and British groups of the era contributed to the album, collaborating with Eno for the first time. Guitarist Fred Frith caught the attention of Brian Eno who was excited by the possibilities that been discovering on his album Guitar Solos. Eno asked Frith to record him, and this resulted in Frith playing guitar on the album. Eno had previously worked with Cluster on their album Cluster & Eno released in 1977, Eno also had several musicians who he had worked with on previous solo albums return. Percy Jones of Brand X and Phil Collins of Brand X and Genesis, Other contributors included Robert Fripp of King Crimson, Paul Rudolph of Hawkwind and Bill MacCormick and Phil Manzanera of Quiet Sun. Robert Wyatt went under the pseudonym of Shirley Williams and is credited on the album for time and brush timbales on Through Hollow Lands, working extensively with the musicians and his instructional cards—the Oblique Strategies—during the two years working on the album, Eno wrote over one hundred songs. The albums opening tracks No One Receiving and Backwater start the album as upbeat, Kings Lead Hat is an anagram of Talking Heads, a new wave group Eno had met after a concert in England when they were touring with Ramones. Eno would later produce Talking Heads second, third and fourth albums, the last five songs of the album have been described as having an occasional pastoral quality and being pensive and atmospheric. Opposed to Another Green Worlds music, which Eno described as sky music, Eno referred to the music of Before, references to water in the lyrics appear in songs such as Backwater, Julie With. and By this River. Enos songwriting style was described as a sound-over-sense approach, influenced by poet Kurt Schwitters, Eno consciously did not make songwriting or lyrics the main focus in the music

20.
Ambient 1: Music for Airports
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Ambient 1, Music for Airports is the sixth studio album by Brian Eno, released by Polydor Records in 1978. Though it is not the earliest entry in the genre, it was the first album ever to be created under the label ambient music. Eno conceived of the idea for Ambient 1 while spending several hours waiting at Cologne Bonn Airport in Germany in the mid-1970s and being annoyed by the uninspired sound atmosphere. To achieve this, Eno sought to create music that would accommodate many levels of listening attention without enforcing one in particular, it must be as ignorable as it is interesting. Rather than brightening and regularizing the atmosphere of an environment as typical background music does, Music for Airports is intended to induce calm and a space to think. All tracks were composed by Eno except 1/1, which was co-composed by Eno with former Soft Machine drummer and vocalist Robert Wyatt, Music for Airports employs the phasing of tape loops of different lengths. Talking about the first piece, Eno has said, 2/1 and 1/2 each contain four tracks of wordless vocals which loop back on themselves, subtle changes in timing occur, adding to the timbre of the pieces. Eno explains of the piece, 2/2 was performed with an ARP2600 synthesizer. In a 1979 review for Rolling Stone, Michael Bloom found Ambient 1 self-indulgent, theres a good deal of high craftsmanship here, Bloom said. But to find it, youve got to thwart the musics intent by concentrating, then you are likely struck by how the music allows your mind the space to breathe, Davidson wrote, and in doing so, adapts itself to your mood. Slant Magazine described the effect of the compositions as sheer weightlessness, Q described it as soothing and sublime, a useful album when youre feeling particulary delicate. Ambient 1 was included in the book 1001 Albums You Must Hear Before You Die, the album was installed at the Marine Air Terminal of New Yorks LaGuardia Airport for a brief period during the 1980s. The track labelling references the albums first release as an LP, and so the first track means first track, first side, the CD pressing adds 30 seconds of silence after every song, including 2/2. The albums back cover features four abstract graphic notation images, one for each track and this title was later included with his Thursday Afternoon video on the Rykodisc DVD compilation 14 Video Paintings. Eno is the sole credit, and he also wrote original music for the documentary. 1/1 is frequently used as music on the US public radio program This American Life. 1/1 is used as music in the 1986 film 9½ Weeks. 1/1 features prominently in the scene of the 2009 motion picture The Lovely Bones

21.
Music for Films
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Music for Films is the seventh solo studio album by British musician Brian Eno. It is a work intended as a soundtrack for imaginary films. The compositional styles and equipment used also carried over onto Enos work on some of David Bowies 1977 album Low, Alternative 3 appeared in Herbert Veselys Egon Schiele, Excess and Punishment, and was also used as the theme tune for the television programme Alternative 3. Two further Film albums were released, More Music for Films, in 1983 and Music for Films, the album has manifested in several forms, featuring different track-listings and track-times. 1, Promotional LP,1976, issued in a number of 500 copies. There are two versions, A test pressing with 25 tracks, many of those tracks were taken from Another Green World or appeared later on the official 1978 issue. Essentially all of the tracks are available on the Music for Fans, Vol.1 bootleg. The LP packaging featured a finish on the outside with a glossy finish on the inside. The tracks were rearranged into what Eno felt was a more satisfactory sequence and this is now the standard issue. Dark Waters appears on records as Slow Water. All songs composed by Brian Eno, except where noted

22.
Apollo: Atmospheres and Soundtracks
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Apollo, Atmospheres and Soundtracks is the ninth solo studio album by British ambient musician Brian Eno, released in 1983. It was written, produced, and performed by Brian Eno, his brother Roger, music from the album appeared in the films 28 Days Later, Traffic, and Trainspotting, whose soundtrack sold approximately four million copies. Two of the songs from the album, Silver Morning and Deep Blue Day, were issued as a 7 single on EG Records and this music was originally recorded in 1983 for a feature-length documentary movie called Apollo later retitled For All Mankind, directed by Al Reinert. Although the film had limited theatrical runs at art house cinemas in some cities. The filmmakers still felt the film could do if it reached a wider audience, and so they re-edited the film, added narration, re-structured the music. Various edits of the film were shown to test audiences for further refining, as all this was going on, the films release was delayed until 1989. By that time several tracks on the album were omitted from the soundtrack and replaced by other pieces by Eno and that philosophy dominated when For All Mankind was originally released as a non-narrative collection of NASA stock footage from the Apollo program. The non-narrative version of the film with the Eno soundtrack was released on VHS video in 1990 by the National Geographic Society, an alternate version was also released by NASA featuring audio interviews but omitting the Brian Eno soundtrack. The album contains a variety of styles, under Stars, The Secret Place, Matta, Signals, Under Stars II, and Stars are all dark, complicated textures similar to those on Enos previous album Ambient 4/On Land. An Ending, Drift, and Always Returning are smoother electronic pieces, Silver Morning, Deep Blue Day, and Weightless are country and western inspired ambient pieces featuring Daniel Lanois on guitar. Country music, which Eno listened to as a child in Woodbridge on American armed forces radio, was used to give the impression of weightless space,1 Under Stars is a recurring theme in the album, first appearing as an ambient electronic bed behind a treated guitar. Under Stars II is the composition, but with different effects and treatments. Stars is the pure background texture without the guitar, the Yamaha DX7 was used extensively by Eno on the album. so many processings and reprocessings – its a bit like making soup from the leftovers of the day before, which in turn was made from leftovers. Well, I love that music anyway, what I find impressive about that music is that its very concerned with space in a funny way. Its sound is the sound of a space, the mythical American frontier space that doesn’t really exist anymore. Thats why on Apollo I thought it appropriate, because its very much like space music — it has all the connotations of pioneering. A revised version was performed twice at the 2010 Brighton Festival, the performances from Brighton were recorded and an album of the live interpretation was released in June 2012. Apollo, Atmospheres and Soundtracks at Discogs

23.
More Music for Films
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More Music for Films is a the tenth solo studio album by British musician Brian Eno. It is a sequel to the album, Music for Films. About the second album, Eno said, I released the first volume of Music for Films in 1978 and this second volume picks up where the first left off, but is somewhat different, in that it contains fewer pieces, with greater average length. All music composed by Brian Eno, except where indicated, tracks 3, and 6 to 10 originally appeared on the 1983 release Apollo, Atmospheres and Soundtracks. All music composed by Brian Eno, except where indicated, tracks 1,3,10 to 14 originally appeared on the 1993 release Eno Box I, Instrumental. Tracks 15 to 21 originally appeared on the 1983 release Music for Films Volume 2, tracks 5 and 8 originally appeared on the 1978 release Music For Films as Patrolling Wire Borders and Quartz respectively. Brian Eno Daniel Lanois Technical Russell Mills - artwork, design, typography David Buckland - photography More Music for Films at Discogs

24.
Thursday Afternoon
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Thursday Afternoon is the eleventh solo studio album by British ambient musician Brian Eno consisting of one 60-minute eponymous composition. It is the soundtrack to an 80-minute video production of the same title made in 1984. Since recording Discreet Music in 1975, Eno had shown a strong interest in creating music that can influence the atmosphere of the space in which it is played, rather than be focused on directly. The Thursday Afternoon video was conceived as a series of seven video paintings which can be looked at in passing without demanding full attention from the viewer, the music on this album consists of multiple tracks of processed piano and electronic textures. The layers of the composition are phased so that their relationships to each other are constantly changing in a way similar to his previous Discreet Music piece. The album was one of the first to take advantage of the extended running time of the compact disc format. The original video, made at the request of and released by the Sony Corporation of America, was filmed in San Francisco in April 1984 and treated and assembled at Sony in Tokyo. Produced by Brian Eno and Daniel Lanois, it features seven paintings of actress and photographer Christine Alicino, a friend of Enos. The DVD reissue presents it in both portrait and landscape formats so that this is no longer necessary, the content is a series of images that stay static for some time and then slowly move forward, often to pause again. Various video techniques were implemented, such as feedback, to create a very different interpretation of video. Eno himself was aware of the newness of what he was doing, I was delighted to find this other way of using video because at last heres video which draws from another source, which is painting. I call them video paintings because if you say to people I make videos, they think of Stings new rock video or some really boring, grimy Video Art. Its just a way of saying I make videos that dont move very fast. The soundtrack was recorded at Dan Lanoiss studio in Canada, and is a longer, different mix. Three time-lapse GIFs give an impression of the matter and its treatment, although not the slow-moving speed of the video, 97K. At just one track lasting 60 minutes, the music is ambient, beatless, flowing, remixing and rearranging from the soundtrack to suit the CD media, Eno stated. the music wasnt recorded digitally. It was recorded on a 24-track analogue machine, and then digitally mastered, an acoustic piano plays a series of notes and simple chords against a background of synths, which eventually dominate the entire soundscape. Thursday Afternoon at Discogs Liner notes from Thursday Afternoon Inlay notes from Thursday Afternoon Hyperreal article on Enos video artworks 2 of Enos sketchbooks. On the left is a 1982 repetition schema for T. A. and on the right is a sketch of the mix for U2s Unforgettable Fire Interview, Electronics & Music Maker, December 1985 Observer article, Feb

25.
Nerve Net
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Nerve Net is the twelfth solo studio album by British musician Brian Eno. It marked a return to more rock-oriented material, mixed with heavily syncopated rhythms, experimental electronic compositions, the ambient sensibility is still present on several tracks, though it is often darker and moodier than the pieces Eno is best known for. The album generated 12-inch and CD singles for the pieces Ali Click and Fractal Zoom, both of which featured remixes of the songs by the likes of Moby, Markus Dravs. All tracks composed by Brian Eno, Fractal Zoom –6,24 Wire Shock –5,27 What Actually Happened. Ali Click is a CD Maxi-Single of remixes of the song Ali Click from Brian Enos album Nerve Net. It is also notable for including a version of I Fall Up, a track from the withdrawn My Squelchy Life album, tracks marked * mixed by Markus Dravius Draws. Tracks marked ** mixed remixed with additional production by Moby

26.
The Shutov Assembly
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The Shutov Assembly is the thirteenth solo studio album by British musician Brian Eno, released on 10 November 1992 on Warner. On the rear cover of the CD, the ten tracks of nine letters are arranged in a grid as seen in a word search puzzle and this appears to reflect Enos known affinity for word games, but there is a purely coincidental reason for why they are so titled. Triennale – Milan festival where Eno had an installation in 1985, alhondiga – Spanish installation in 1988. Markgraph – German exhibition music & light company that helps with installations, lanzarote – Canary Islands, host to a yearly music festival. Francisco – Installation at the Exploratorium in 1988, Riverside – Riverside Studios in London was the site of a 1986 installation. Stedelijk – Amsterdam museum with the installation of Mistaken Memories of Mediaeval Manhattan. Ikebukuro – Tokyo installation in 1989, I thought it would be an interesting way to use an orchestra, to force it to use its instruments in a different way. Though the music can certainly be classified amongst his other ambient works, in an interview, Eno said its the association with danger that I didnt use to like, and its exactly that, what I do like now. He described The Shutov Assembly as sort of the version of it

27.
Neroli (album)
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Neroli is the fourteenth solo studio album by British musician Brian Eno, released in 1993. Conceived as a piece, Eno describes it in the liner notes as to reward attention. Single notes resonate throughout the piece in a random but harmonic pattern that shifts quietly for close to an hour. Thanks to the nature of the piece, Neroli has been implemented in some maternity wards. According to the notes accompanying the CD, Eno intended to release a version for just that purpose. Neroli, Thinking Music, Part IV –57,56 Neroli at Discogs

28.
Extracts from Music for White Cube, London 1997
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Extracts from Music for White Cube, London 1997 is the sixteenth solo studio album from British musician Brian Eno, released in 1997. The album is an Opal release, with no catalogue number, the music on the album was made for an Installation – a show featuring music and visuals – that took place at the White Cube art gallery in London, from 25 April to 31 May 1997. The gallery describes itself as possibly the smallest exhibition space in Europe, during the show, white blinds covered the two windows in one wall and a suspended ceiling muffled lights that were suspended above it. Mounted on each of the four walls was a CD-player with two speakers on either side, playing random tracks, on top of this he also recorded himself singing a single, long note at each location. These were the discs that were fed into the Installation players, Eno says I was thinking of the sound less as music and more as sculpture, space, landscape, and of the experience as a process of immersion rather than just of listening. The Extracts from Music for White Cube album was originally the catalogue to accompany the Installation, during the Installations run at the White Cube gallery, visitors could also select from, and buy, a series of unique CD-Rs named Contra 1.2. These varied in length from around 20 to 50 minutes, and the music was created with Koans music-generation software

29.
I Dormienti
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I Dormienti is the seventeenth solo studio album from British musician Brian Eno, released in 1999. It is also the title of an art-book by Eno and Italian artist Mimmo Paladino, released in 2000, packaged with a copy of the album, an Opal release, with no catalogue number, this title is only currently available from EnoShop. This was the second of his exhibitions, the first did not feature Enos collaboration and his exhibition was in the form of drawings and terracota sculptures - about 30 reclining figures with about 20 attendant crocodiles he called I Dormienti, The Sleepers. In actuality, Eno had nothing to do with the lighting, illumination was provided by the venues dim emergency lights which imparted a pallor to the sculptures, the music came from well-concealed speakers and consisted mainly of a three-note Neroli-esque sequence, and electronic noise. The material condensed onto the album in a single track consists of ten or so layers of the syllables, speech excerpts, the standard Eno treated piano. The book was edited by Demetrio Paparoni and published by Alberico Cetti Serbelloni Editore of Milan, in 2000, two editions were printed, A presentation-boxed luxury edition of a print-run of 2000. A 100-copy special edition accompanied by an aquatint etching with drypoint and presented in a fired terracotta case,108 pages, 12 1⁄4 × 12 1⁄4 inches. The CD is also included, with a different label to the album, all tracks written by Brian Eno. I Dormienti at Discogs Three I Dormienti sculptures by Mimmo Paladino,1,2,3 Collage Hyperreal Eno bibliography Information about Mimmo Paladino. 4,5,6,7 James Putnam Roundhouse review Roundhouse homepage

30.
Kite Stories
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Kite Stories is the nineteenth solo studio album from British musician Brian Eno, released in 1999. An Opal release, with no number, this title is only available from EnoShop. The installation included a music system and a collection of objects chosen for their spatial presence - stones, sand. The music on the CD, at half an hour in length, is a very much curtailed version of something that lasted for two months. Eno made the music in his studios in London and he said I think of shows like this as music in more dimensions or perhaps music for more senses. A process more similar to painting or collage than conventional music composition, one element in it is nearly 20 years old, most of it was made last week. The music is divided into 8 independent layers, one of which is playing on each CD player, since these players are not synchronized, the music constantly recombines into different patterns

31.
Music for Civic Recovery Centre
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Music for Civic Recovery Centre is the twentieth solo studio album from British musician Brian Eno, released in 2000. The Quiet Club -44,50 An Opal release, with no catalogue number, the music on the album is taken from an Installation—a show featuring music and visuals—that took place at the Sonic Boom exhibition of the Hayward Gallery, London, in April–June 2000. The event, featuring over 30 other artists, was curated by David Toop, Eno has said of his Installations I want to make places that feel like music. I want to make things which are like music for the eyes, I want to extend music out into space, into the three dimensions of space, and into colour. Eno calls this process composting. so many processings and reprocessings - its a bit like making soup from the leftovers of the day before, some earlier pieces I worked on became digested by later ones, which in turn became digested again. The technique is like composting, converting what would otherwise have been waste into nourishment, the music was remixed each time by a different musician. Images from Civic Recovery Centre by Odd Marthinussen Eno Land feature Interview, questions from the Sonic Boom Exhibition SlashSeconds feature on Quiet Clubs Beep discography entry Discogs. com entry

32.
Compact Forest Proposal
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Compact Forest Proposal,5 Studies for 010101, San Francisco Museum of Modern Art,2001 is the twenty-first solo studio album from British musician Brian Eno, released in Feb.2001. An Opal release, with no number, this title is only available from EnoShop. His piece was titled New Urban Spaces Series #4, Compact Forest Proposal, since then, the museum has acquired the Installation for its permanent collection. The piece was installed in a room, featuring strings of tiny white lights rising to the ceiling from gossamer pods that reminded Eno of jellyfish. Its an idea for a kind of people can go to in the city. Part of Enos Quiet Club series of Installations, he described it as a sort of simulated forest of the future and he gave it a deliberately clunky title because I want it to be like an architectural submission for a new space. The CD notes explain There are 10 active CD players in this installation, each is playing a specially cut CD, a single layer of the total music. The CDs have different numbers of tracks, some of which are silent, the final music is therefore an ever-changing combination, unlikely to exactly repeat itself in any individual users experience. The studies on the CD represent possible conditions of the installation piece and my other installation pieces to date have been relatively steady state in that theyve remained faithful to a specific harmonic palette. In this piece, however, one of the 10 playing CDs carries two different harmonic sub-strata. Since these are different tracks on the same single CD, they are never heard together, the other elements of the piece float over these backdrops, its as though the weather changes. Two different backdrop tracks change the mood of the album from its prequel, birdstance, an album by Bangsplat, was inspired by the album 4,5. Discogs. com entry Beep discography entry Two reviews of the Installation 6,7

33.
Another Day on Earth
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Another Day on Earth is the twenty-third solo studio album by Brian Eno, released in June 2005 on Hannibal Records. This is the first Eno album to chiefly contain vocals in more than two decades, speaking of the album, Eno said, The first one Ive done like that for a very long time.25 years or so. In addition, he explained his current thoughts on lyrics in music, Song-writing is now actually the most difficult challenge in music, Eno recorded and mixed most of the album on a Mac, using Logic, over a period of four years. He also engineered it himself, because otherwise I would have had to six years in a commercial studio and pay staff. Bottomliners and Under were first worked on six years previously, on a DA88. On the former, and on the ballad And Then So Clear he pitch-shifted his voice up an octave and his studio features a selection of hardware including a Lexicon Jam Man loop sampler and an Eventide H3000 Harmonizer. The album is built around the And Then So Clear song. In one day, actually, I pretty much finished it, I liked it so much, and I thought, how I am going release this song, and I thought, I have to write some others. On the title track he repeatedly cut up the main phrase, similar cut-up methodologies were used for the lyrics of This, in that he used his computer to generate some of the words. Under is a version of a song that was on the unreleased 1991 album My Squelchy Life. The final track on the album, Bone Bomb, was inspired by a story about a Palestinian girl who becomes a suicide bomber. The title refers to a point made by an Israeli doctor that when a suicide bomber detonates, all songs written and composed by Brian Eno, except where noted. Tracks 8 &9 published by Opal Music, London and Editions Outshine / BMG-UFA,2005, Brian Eno appears courtesy of Opal Ltd. A slightly longer version of And Then So Clear was played on Echoes in November and December 2003, marianne Faithfull covered How Many Worlds on her 2008 album Easy Come, Easy Go. The album was chosen as one of Amazon. coms Top 100 Editors Picks of 2005, song lyrics SoundOnSound article Mix article Albums Russian release Multi-review links

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Lux (album)
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Lux is the twenty-fourth solo studio album from Brian Eno, released through Warp on 13 November 2012. The album is a collection of ambient soundscapes that have been installed in art galleries, critical reception has positively compared it with Enos previous ambient work and noted that it is both relaxing as well as challenging music for those who engage it critically. In 2013, Brian Eno created a number of limited edition featuring the cover artwork from Lux made available only from his website. The music was commissioned alongside work in the Great Gallery of the Palace of Venaria in Turin. To promote the album, Eno attended listening parties in London, New York City, following in the tradition of Music for Airports, the album was previewed in Tokyos Haneda Airport for four days prior to the albums commercial release. Lux has received positive reviews from critics, review aggregator Metacritic has given the album a normalised score of 78 indicating that it is generally favorable. Several reviewers make explicit reference to Enos previous ambient work, drowned in Sounds Marcus J. Moore also compares this album favourably to Enos Discreet Music, calling him a master of the ethos of ambient music. Caroline Sullivan of The Guardian compares it favourably to Music for Airports, andy Gill of The Independent proclaims that Lux never bores because its never making foreground demands on your attention. Writing for Uncut, John Mulvey writes that his ambient efforts are perhaps the best kind of Eno album, noting the textures of the music are compelling and complicated. Kitty Empire of The Observer was more subdued, calling the album an engaging antidote to all the frantic maximalism that the future keeps springing and awarding it three out of five stars. Darryl Wright of PopMatters found the more challenging, writing. Andy Beta of Spin gave the seven out of ten, commenting that the whole thing is pretty, if a bit mild. Lee Arizuno of The Quietus shared the same comparison and called this his most successful ambient work, matthew Phillips of Tiny Mix Tapes describes the subtlety of the music by saying that it doesnt move the listener so much as suggest directions. Concurrent with this album, he released a follow-up named Scape. Installation art EnoShop vinyl copy of Lux Enos store on the airport installation Day of Light When Brian Eno met Ha-Joon Chang

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Music from the Penguin Cafe
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Music From The Penguin Cafe was the first album by the Penguin Cafe Orchestra. It was recorded between 1974 and 1976, and released in 1976, the artist credited for the work varies with different issues. Upon original issue, the label credited the artist as Simon Jeffes, the line-up for tracks 1,9,10 and 11 consisted of the original Penguin Café Quartet, Simon Jeffes, Helen Liebmann, Steve Nye, and Gavyn Wright. Tracks 2-8, meanwhile, were performed by the ensemble Zopf, reissues from 1987 forward generally credit the artist as the Penguin Café Orchestra. These later reissues have mistakenly listed pieces 2-8 as though they were movements of a suite entitled Zopf, the executive producer for the album was Brian Eno, who released this album on his experimental Obscure label, with catalogue number Obscure 7. The original cover was by John Bonis, the reissue cover painting was by Emily Young. The album was released on CD by E. G. Records in 1991 and later in remastered form in 2006 - both using the cover instead of the original. The album was included in Robert Dimerys 1001 Albums You Must Hear Before You Die, tracks 1, 9-11 performed by the Penguin Cafe Orchestra